GamerTab That was an excellent one.

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

gary-444 The tale of paratroopers who disappear, literally, into thin air, this film is an odd watch forty years later. It's primary interest lies more in what it says about the time, than the film itself.Released in 1969 three influences loom large.The year that Man first landed on the moon it reflects a fascination with, and fear of, what might lie in outer space. Militarily we were also in the midst of the Cold War when anything unexplained, and potentially evil, automatically raised the question of Communist involvement. And finally James Bond was the dominant screen character, and his shadow falls long here in more senses than one.Veteran, square jawed character Patrck Allen, bulldozes his way through the role of an expert,Bob Megan, called in to solve the awkward problem of disappearing parachutists. One extraordinary scene speaks volumes for the Bond "character" and perceptions of women at the time. Megan chances upon a scantily clad beauty enjoying enjoying a solitary moment taking in the evening and then makes advances on her which vacillate between sexual assault and rape. No sooner is he introduced to a shapely scientist in a pencil skirt than she too is subjected to his clumsy male machismo which in the 21st century looks appalling.Of course both women come back for more. When he IS offered sex on a plate by the blousey, but ageing, hotel owner he rebuffs her to reinforce yet another sexual stereotype, the ageing temptress who can't get it because she has had it.The Bond theme is further explored by the presence of Sean Connery's brother Neil, as Megans sidekick John Radford, in one of only two screen performances. Bearing a strong resemblance to Sean, his acting talents are strait jacketed by a preposterous script.A dreadful ending combines the worst of "Dr Who" and "The Champions", suggesting that a 30 minute running time, rather than three times that, would have suited all concerned somewhat better. A hopeless film, but a fascinating sixties curiosity.

squeezit It is Patrick Allen, not George Sanders, who is the playboy.Actors on the way down (George Sanders, Maurice Evans), an actor who never really had much of a career (Neil Connery--Sean's brother), and working actors treading water (Patrick Allen, Robert Flemyng).The film is indeed a big snooze, with meager science-fiction trappings and a disinterested cast going through the motions.Aliens kidnap skydivers to repopulate their plague-stricken planet. Theater owners probably had to kidnap patrons! Originally on a double bill with THE BLOOD ROSE, a French production advertised as 'the first sex- horror film.'Shelagh Fraser ("Mrs. Thatcher") appears as Aunt Beru in STAR WARS.

pottedstu A few minutes of well-shot footage of parachute jumps and aerobatic flying seem the real impetus for this British science fiction picture. When there are no bodies hurtling towards the ground or planes shooting past each other, what's left is a bad script with far too many scenes of men in suits talking in offices and not nearly enough science or action. Since it was made for a family audience, there isn't even much in the way of female flesh.Patrick Allen and his improbably large chin take the lead. His character, a NATO troubleshooter, is big on the sub-James Bond womanising and tough posturing. Yet for all his smooth lines and fetching cardigans, he does curiously little to actually solve the mystery of disappearing military parachutists. Plot development consists of supporting characters waving a Geiger counter over a few things while Allen chases the girls.George Sanders is normally a reliable figure (see the far superior Psychomania, for instance), but he is wasted here as a personality-deficient general. Hilary Dwyer has the requisite qualities for a female star, being very pretty and a great screamer. Lorna Wilde is quite fetching as a mysterious blonde, but the rest of the cast do little.This is a competently-made film from people who understood the limitations of their budget, limitations which mean rare special effects and few action sequences. The real problem is an absence of ideas or any ambition beyond filling the screen for 90 minutes. Once all the aerial footage has been used up, what is left is a very unoriginal story with little imagination or characterisation and lots of dialogue of a "The minister isn't going to like this" type. Nonetheless, Reg Tilsley's jazz score deserves a mention, ratcheting the tension even when the most mundane action is unfolding on screen.It's hard to recommend this film when there are so many better British exploitation films from the era; it lacks even any Austin Powers-ish campness and shows nothing of 1960s Britain. As an attempt at family-friendly science fiction from Tigon, a studio better known for its sexually-frank horror, it's a slight curio of film history. For entertainment, you're better off jumping out of a plane, or even watching an in-flight movie.

Mumbingo This film is worth seeing just for the opening sequence alone. A surprise from the outset leading into a thunderous Sixties-style score, before the rot sets in. There is curiosity value for a performance from Patrick Allen (The Jaw, in what nearly amounts to a leading role) and a very rare appearance of Sean Connery's brother Neil in one of only two film roles that he made that I am aware off. Mid-way the love interest on a moonlit beach really sags and does not help the film much, while the ending is a let down and even stranger to see a prop stolen from the Doctor Who film Daleks: Invasion Earth. I almost expected Peter Cushing to materialise out of.....THIN AIR!!! Still, overall I found it...quite enjoyable!!